Melbourne Conservatorium of Music

Overview

The Melbourne Conservatorium of Folio Recording Fund assists doctoral music students across Music Performance, Composition, Interactive Composition, and Jazz and Improvisation in the production of their creative outputs for confirmation and final examination.

Melbourne Conservatorium employs audio engineers to assist with the production of high-quality audio and/or video recorded material. This documentation will typically be a mix of two forms:

• a live audio-visual recording, using high quality video and audio equipment (no edits, except basic top and tailing)
• a studio-based, intensively edited recording

The recording hours allocated to a GR student over the course of their candidature is a maximum 30 hours. This cap applies for the maximum creative folio submission (where up to 75% of the dissertation is devoted to creative outputs) equivalent pro rata hours are applied for a shorter creative folio and a longer written thesis).  In most cases, the split is: Music Performance: 75% creative/25% written; Composition and Interactive Composition: 70%/30%; Jazz & Improvisation: 50%/50%.

There are two sources of funding for PhD candidates in Music with Creative Outputs. The first is the Conservatorium Folio Recording Fund; the second is the Faculty Graduate Research Fund (FGRF). Both schemes fund costs towards audio recording, mixing, editing, mastering, and keyboard tuning (where necessary). Further, the Conservatorium Folio Recording Fund will support up to six hours for keyboard accompanists. The Faculty Graduate Research Fund should be used to cover any additional associate artists, other musicians, or additional videographer.

Eligibility

PhD candidates with a creative folio component at the Melbourne Conservatorium of Music are eligible to apply for the Fund during the first three years of candidature (or equivalent part-time).

Timing

You should allow at least two months post-production for the edited, mixed and mastered material to be supplied for your own use.

Guidelines

Pre-recording:

1. In consultation with your supervisors, carefully plan the best strategies for your recordings for the entire PhD, and document your intended outcomes. In the first 6 months of candidature, work with your supervisory committee to create a plan for your PhD. Document the intended outcomes for your creative folio. For example,

• how many concerts will you perform?
• how many minutes of recorded material?
• will the recording be live, or studio, edited or unedited?
• will video documentation be required?
• what is the projected timeline for realisation of your folio?
• what is the repertoire, for which forces, and of what length are the works, who will realise them, and when?
• do you need a piano or instrument tuner?
• do you need to engage an accompanist? (If so, the Folio Recording Fund will support up to six hours for keyboard accompanists.)

Note that the plan may evolve and change over the course of your degree.

2.  Apply for the Folio Recording Fund at least two months before you plan to record.

3. If approved, a Production Coordinator will be assigned, who will work with you to determine schedule and technical requirements. Establish with the Production Coordinator exactly how many hours will be necessary for your recording and edits to produce folio-quality recordings. Also allow time for sound engineer setup (one hour minimum) and strike (30 minutes minimum).

4.  Ideally, plan to record during one of the block recording periods. Recording sessions should be compressed into one single day, or if multiple days are required, plan for consecutive sessions (for example, an afternoon session followed by a next morning session). This minimises setup and strike time required.

At recording:

5.  Ensure that performers/ensemble are well rehearsed to reduce recording time.

6. At the conclusion of the recording session, assist the sound editor by choosing your preferred takes (known as an Editing Plan).

Post-recording:

7. Report your recording outcomes to the scheme coordinator: amount of recording and editing time consumed to date, recording outcomes achieved. This information will inform future applications for funding.

8. Where recording projects are segmented, supervisor and chair will periodically endorse recorded outcomes from previous recording projects before more projects can be approved.

9.  The form of the creative output (live and/or studio) should be declared to examiners upon submission.

Please Note

• The Graduate Research student is responsible for project management, including budget management of hours for work required. Bear in mind that the total amount paid includes setup, strike, recording, editing, mixing and mastering. For this reason, efficient planning is critical for all stages of the project. Due to set-up time, longer recording sessions are more cost effective than many short ones. You may be able to budget appropriately by considering the engagement of one person to record, and another to edit/mix. Editing is usually at a ratio of 3:1 (3 hours editing time for every 1 hour of recording).
• In order to ensure that, in line with strict University mandates, students will submit their portfolio in a timely manner, all allotted recording hours must be used within the first three years of candidature. Applications for funding will not be considered beyond the three years’ full-time candidature (or part-time equivalent).
• Recordings must be undertaken using Conservatorium facilities. Unless approved as part of the application process, the use of non-Conservatorium facilities is not permitted.
• Retrospective applications for funding will not be considered.